Tag Archives: Projection

d3 Technologies’ 4x2Pro Systems were used for projection at The Royal Netherlands Air Force Open Days. As visitors entered the event, they would walk through a 100 meter tunnel, with two 70 meter projection screens on either side immersing them. Each tunnel required 12 projectors on each wall. Specially printed fabric depicting the inside of an aircraft was mounted on the structure with projection holes cut into the fabric.

The Royal Netherlands Air Force held their Open Days on 20 and 21 June at air base Gilze-Rijen. This annual events aims to show the public their work and build enthusiasm for life as a pilot, ground supporter, engineer, gunner, medic, ITer or other professions in the Air Force that help serve the country. A wide range of aircrafts, planes, jets and helicopters took the stage in spectacular airshows, including F-16 fighters, Spitfires, Migs, Chinooks, the British Red Arrows, and an MD11.

This year the RNAF wanted a fresh approach to its Open Days, with a focus on “Experiencing the Air Force”, particularly in Operation Air Support (Operatie Luchtsteun). The RNAF brought agency Fjuze on board to help create this experience for its visitors. Fjuze came up with a tunnel idea: upon entering the Gilze-Rijen Air Base, visitors are led through an experience tunnel, where projection and sound gives them a taste of being part of the Royal Netherlands Air Force. Although the venue was calculated for 200.000 visitors, an estimated 245.000 turned up due to its popularity. Many thousands of other Air Force enthusiasts followed the event through a live stream.

Gilze-Rijen Air Base opened its gates at both ends of the airstrip, so two similar tunnels needed to be made. Flowing through from either entry, the visitors would walk through either 100 meter tunnel, with two 70 meter projection screens on either side immersing them. Each tunnel required 24 projectors (12 on each wall), making it a 48 projector project in total.

Due to tight scheduling, the build of the tunnels allowed no room for error. The projectors were placed outside the tunnel, projecting through holes in the structure. Specially printed fabric depicting the inside of an aircraft was mounted on the structure, again with projection holes cut into the fabric.

On top of this, the projectors had their own construction, placed in holes in the tent floor to avoid noticeable vibrations from crowds of visitors. With such a construction, absolute precision work was required to make the installation work.

This is where the new projection feature in d3, Footprints, was incredibly useful. Not only did it allow for the team of The Unit to see the design in 3D well in advance, but also to see how the projectors would perform. Footprints shows projector coverage, light fall off, shadows and pixel stretch in the d3 stage visualiser.

Dave van Roon, one of The Unit’s key d3 Operators, says: “Using the new d3 4x2pro and the new Footprints feature really give you a taste of the capabilities and power the system has – it’s the next wave of d3.” Using the Footprints feature showed that early designs of the tunnel were too steep: the projectors were at such an angle that pixels would stretch, next to this, focus couldn’t be guaranteed over the whole projection surface. As a result, the design was altered to find the optimal compromise between the design concept from Fjuze and technical realizability.

The coordinates of the projectors in the d3 project were exported and send to Faber Audiovisuals, who managed to position the projectors in real life to millimeter accuracy. Aided in their technical realisation by The Unit Showcontrol, both d3 4x2pro and d3 4U v2.5 servers were used for an effective and powerful control system. Faber designed a structure to match the angle of the projectors as well, which meant that after a complete system startup, only minor adjustments to the manual calibration in d3 were required to get a correct setup.

Jeffrey Goes, Managing Director of The Unit Showcontrol, says: “When we heard about the pro range we were very impressed with its features. d3 Technologies’ focus on innovation and future technology corresponds with our own ambitions: our aim is to continuously expand our creativity without adding technical hassle. And as the first in Europe to have and use the new d3 pro range, we can say we’re very excited about the way things are going – it’s a privilege to be part of the d3 family.”

BRUSSELS — ArKaos PRO is partnering with PSAV to roll out new projection and mapping solutions across its global network in the hotel, resort and conference center industry. Pictured here is a screenshot of ArKaos MediaMaster.

ArKaos PRO media servers and software deliver the most versatile, easy-to-use video media server and mapping capabilities to clients who want to add impact to their events and presentations.

PSAV’s Product Management of Audio and I.T, Mark Consiglio, has been an advocate of ArKaos PRO media servers since he was introduced to the brand at InfoComm 2012. “When ArKaos PRO was brought to my attention, I knew this technology would be something that our team and customers would be interested in,” stated Consiglio. “Media servers are normally large scale installations so we were excited to learn about this product. The ArKaos Stage Server demo — just a small scale display that mapped video extremely accurately onto a series of blocks — really blew us away with how scalable the system was. I realised how we could use the Stage Server to map video, which we could then project from small meeting-room projectors.”

ArKaos’ Marco Hinic and Toon Servaes followed up with a personal visit to PSAV’s annual RVP meeting where they demonstrated the system to the company at large. “Suddenly our people were able to see the potential of media servers and video mapping firsthand and it really started to snowball,” says Consiglio.

Inspiration

ArKaos PRO offers different solutions using projection mapping for presentations. The video mapping systems provide a great alternative to the standard industry fare of two screens and a pipe and drape centerpiece but can also introduce more imaginative scenic elements by ‘painting’ sets with video.

The appearance of the set can be manipulated easily by changing the background content and intensity, adding and manipulating logos and graphics, mapping screens and three-dimensional shapes or blending the whole together to form one scenic projection with different areas of continual content. Audio and video files can also be synched.

Because ArKaos is so intuitive and easy to learn, not only can users design and supply hard and soft sets for all types of shows but clients are inspired to recognise ArKaos’ potential and embrace the technology for themselves. Video mapping and projection is a great means of generating revenue for meeting planners by enabling them to offer, for example, branding opportunities for off-site events, simultaneously creating a means of alleviating costs within meeting planners’ budgets.

Training

Training is where ArKaos MediaMaster really comes into its own: it is easy to use, fast to learn, easy to train and fully supported by the manufacturer and distributor.

MediaMaster is very simple with an interface which is easy to understand. Unlike other media servers, it is not menu driven so all that is needed is presented on one page. Users can therefore learn MediaMaster on their own simply by reading the screen.

Partnership

“The training and instant response to support calls from ArKaos are so sharp that it helps us to respond professionally to our clients,” says Consiglio. It is a two-way relationship as Consiglio is now on the Beta test team for ArKaos and sees many of his suggestions become a reality. “I think our partnership has helped take the technology down a road that the software developers didn’t anticipate in our branch of the industry.”

“We are very happy to work in such close collaboration with Mark and his colleagues at PSAV,” says ArKaos’ Business Development Manager, Agnes Wojewoda. “Mark has a fantastic understanding of video technology and has been putting our software and media servers to some wonderfully creative use. He is a top-class Beta tester and his level of feedback is very important to ArKaos.”

KORTRIJK, Belgium – Barco has expanded its projection portfolio for rental and staging with a brand-new three-chip DLP projector. Offering a brightness level of 35,000 center lumens, the HDQ-4K35 is capable of showing native 4K content at 60 Hz frame rates. It features a unique integrated design with internal power supply, rental frame and no external chimney fan.

KORTRIJK, Belgium – Barco, a global leader in projection technology, is proud to expand its projection portfolio for rental and staging with a brand-new three-chip DLP projector. Offering a brightness level of 35,000 center lumens, the brand-new HDQ-4K35 is capable of showing native 4K content at 60 Hz frame rates. It features a unique integrated design with internal power supply, rental frame and no external chimney fan. What’s more, the HDQ-4K35 is fully ready to be combined with Barco’s groundbreaking 4K screen management system, which allows native 4K projector blending – a first in the industry. Barco will unveil the new HDQ-4K35 at InfoComm, from 18 – 20 June in Las Vegas, and the projector will be commercially available as of Q4 2014.

“Barco has been the industry leader in high-brightness and high-resolution projection technology for decades and with the introduction of the HDQ-4K35 projector we continue to raise the bar for image quality,” comments Bill Morris, Vice President Venues & Hospitality at Barco. “Thanks to its 4K (4,096 x 2,160) resolution and 60 Hz frame rate, it delivers razor-sharp images to boost live events with stunning visuals in vibrant, rich colors.”

Striking image quality

The HDQ-4K35 is equipped with a Xenon 6.5 kW lamp and a high-contrast optical engine that guarantee vivid colors and present audiences with crisp, stunning images on every occasion. Rental companies that already own a fleet of HDQ-2K40 projectors can reuse their XLD lenses for the HDQ-4K35 projector or opt for dedicated 4K lenses if higher lens shifts are needed to achieve the right image.

A perfect match for E2

Offering native 4K input and output, the brand-new E2 image processor – also being launched at InfoComm 2014 – is the only screen management system on the market able to manage a 32 projector blend using the HDQ-4K35 with refresh rates up to 60 Hz.

Designed for the road

Perfect for a multitude of rental & staging applications, the HDQ-4K35 boasts a unique integrated design with internal power supply, rental frame and no external chimney fan. Designed with the road in mind, the HDQ-4K35 comes with a rugged metal chassis to withstand the challenging conditions of continuous shipping. Just like the other Barco rental projectors, the HDQ-4K35 features a modular design for easy installation and servicing – a feature that’s widely acclaimed by rental customers across the world.

Showcasing an 8K by 2K blend at InfoComm

At InfoComm, Barco will showcase the brand-new HDQ-4K35 in a two-channel blend of 8K by 2K pixels, a first in the industry. Visit Barco at booth #C6308, InfoComm trade show, Las Vegas Convention Center, Las Vegas (USA), from 18 – 20 June.

KORTRIJK, Belgium – Barco has expanded its projection portfolio for rental and staging with a brand-new three-chip DLP projector. Offering a brightness level of 35,000 center lumens, the HDQ-4K35 is capable of showing native 4K content at 60 Hz frame rates. It features a unique integrated design with internal power supply, rental frame and no external chimney fan.

KORTRIJK, Belgium – Barco, a global leader in projection technology, is proud to expand its projection portfolio for rental and staging with a brand-new three-chip DLP projector. Offering a brightness level of 35,000 center lumens, the brand-new HDQ-4K35 is capable of showing native 4K content at 60 Hz frame rates. It features a unique integrated design with internal power supply, rental frame and no external chimney fan. What’s more, the HDQ-4K35 is fully ready to be combined with Barco’s groundbreaking 4K screen management system, which allows native 4K projector blending – a first in the industry. Barco will unveil the new HDQ-4K35 at InfoComm, from 18 – 20 June in Las Vegas, and the projector will be commercially available as of Q4 2014.

“Barco has been the industry leader in high-brightness and high-resolution projection technology for decades and with the introduction of the HDQ-4K35 projector we continue to raise the bar for image quality,” comments Bill Morris, Vice President Venues & Hospitality at Barco. “Thanks to its 4K (4,096 x 2,160) resolution and 60 Hz frame rate, it delivers razor-sharp images to boost live events with stunning visuals in vibrant, rich colors.”

Striking image quality

The HDQ-4K35 is equipped with a Xenon 6.5 kW lamp and a high-contrast optical engine that guarantee vivid colors and present audiences with crisp, stunning images on every occasion. Rental companies that already own a fleet of HDQ-2K40 projectors can reuse their XLD lenses for the HDQ-4K35 projector or opt for dedicated 4K lenses if higher lens shifts are needed to achieve the right image.

A perfect match for E2

Offering native 4K input and output, the brand-new E2 image processor – also being launched at InfoComm 2014 – is the only screen management system on the market able to manage a 32 projector blend using the HDQ-4K35 with refresh rates up to 60 Hz.

Designed for the road

Perfect for a multitude of rental & staging applications, the HDQ-4K35 boasts a unique integrated design with internal power supply, rental frame and no external chimney fan. Designed with the road in mind, the HDQ-4K35 comes with a rugged metal chassis to withstand the challenging conditions of continuous shipping. Just like the other Barco rental projectors, the HDQ-4K35 features a modular design for easy installation and servicing – a feature that’s widely acclaimed by rental customers across the world.

Showcasing an 8K by 2K blend at InfoComm

At InfoComm, Barco will showcase the brand-new HDQ-4K35 in a two-channel blend of 8K by 2K pixels, a first in the industry. Visit Barco at booth #C6308, InfoComm trade show, Las Vegas Convention Center, Las Vegas (USA), from 18 – 20 June.

LONDON — XL Video is again providing full video production – including projection, LED screens, media server control and full camera / PPU package – to an Arcade Fire tour, in this case, the critically acclaimed “Reflektor” world tour. Set and visuals have been carefully sculpted by show designer Richard Stembridge.

The band are well known for their penchant for the experimental, the off-beat and for embracing creative challenges. Stembridge worked on the last tour, “The Suburbs” in 2011 as Video Designer and has now taken on the role of show designer with great enthusiasm.

XL Video’s Project Manager Phil Mercer comments, “It’s fantastic that Richie has stepped up to Show Designer. The show is real proof of his imagination, vision, talent and ability to think differently. As always we are really enjoying working with him, and it’s great to see show video encouraging a real engagement with the audience, rather than just blasting out generic looks and images”.

With up to 12 people onstage at times, one of the briefs from the Canadian indie rock / art band was that the performance area was clean and sharp, and the visuals reflected the dancier and more carnivalesque direction of the album. The ‘reflektor’ theme was prominent from the start and evolved from the initial low profile warm-up shows in the latter half of 2013.

Stembridge wanted an expedient but versatile lighting rig for the tour, and started thinking about how his set and video surfaces could be developed to also reflect light in the process becoming secondary lightsources. That all the video surfaces should be truly multi-purpose and look interesting and relevant even when no footage is playing is one of his trademarks, together with using the medium subtly, intelligently and judiciously throughout the set. Less is more!

He started investigating the possibilities of using a mirrored video screen at the back of the stage that would reflect light when not in use, and then jump to life as a screen when video was running.

During the warm-ups he hit on the solution for this, which was to cover XL’s Pixled F-11 LED tiles which they are using on tour – with mirrored Mylar polyester film material. It’s a simple idea that works fabulously!

A total of 120 x F-11 LED tiles are used to create two rectangular screens with mirrored fascias, and these are flown in an out throughout the show via a Kinesys automation system. They can go all the way out to the roof so they are completely invisible.

A total of nine Barco HDF W26K projectors are on the tour, three of which beam on to an impressive 60 foot wide by 30 foot tall video back-wall made from Frazzle, a metallic sheen fabric etched by half circle slits that track across the entire surface from Rose Brand. This is behind the mirrored screens, and both takes light and projects it beautifully.

The other six Barcos are used to feed the IMAG screens – which are also integral to the overall stage aesthetics. Their intricate hexagonal lines are based on the Arcade Fire logo and made up from four individual interlinked mini-hexagons … resembling a honeycomb!

This involves the side screens as part of the bigger design picture forming a harmonious bond with the stage, and – as you would expect – he wanted something completely different from conventional rectangular IMAG screens!

Mapping each side as four individual hexagonal zones enables the creation of different and more exciting pictures and the possibility of using it as one large surface area, four separate ones or any other combination thereof, hence the need for three projectors per side.

The show’s playback content is run from four Catalyst v4 media servers which are triggered from a Road Hog Full Boar console operated by Stembridge at FOH. He runs the Hog very much as a live console with multiple layers of video at his fingertips on the faders, all of which helps mold the organic visual picture as the set unfolds.

Alongside him on the riser is Chris Bushell, whom he asked on-board as Lighting Designer. The two have collaborated closely on evolving both elements of the show, together with Video Director Charles Woods who is directing the camera mix.

The camera package comprises five of XL’s Sony HXC-100 operated and two Sony BRC H700 robo-cams.

The operated cameras are positioned two at FOH with long lenses, two in the pit on track-and-dolly and also pneumatic pedestals, specified to provide the dynamic range of movement that Stembridge wanted.

With so many people onstage, there is an entire upstage riser with musicians, and he wanted the cameras to be able to get high enough to get good clear shots of these areas.

The final operated camera is a hand-held onstage, and the two robo cams are clamped to the upstage riser to cover the percussion and keyboard areas.

Woods cuts the cameras backstage using a Blackmagic 2M/E Switcher.

He does a full live cut for the IMAG screens and also sends four auxiliary camera feeds to Stembridge’s Catalysts, so the latter can make use of these to do his own camera cut to the onstage screens.

At the FOH position, a hydraulic lift forms the B-Stage, and Stembridge can utilize the pit cameras on their pedestals to capture the action on that while Woods’ IMAG mix continues uninterrupted to the side screens.

The playback content is a classic fluid Stembridge mix of abstracted and slightly obtuse materials, designed in particular to work well when woven in with live cameras – basically the complete antithesis of a music video!

Some of the content he made himself, some he commissioned out to various video artists he knows and one song’s worth was produced by Moment Factory from Montreal. Approximately 35% of the show features playback content.

The tour started in February in the US and Latin America and now comes to Europe where Arcade Fire play a mix of their own shows and festival headliners including Glastonbury. In August, they return to the US.

XL Video is again providing full video production – including projection, LED screens, media server control and full camera / PPU package – to the critically acclaimed Arcade Fire “Reflektor” world tour, for which set and visuals have been created by Show Designer Richard Stembridge.

TORONTO — Christie, which served as projection partner for the 2014 Toronto International Film Festival last September, noted that nearly all films are now screened digitally, with an increasing percentage seen in ultra-high res 4K format. Christie has been a festival partner for 14 years now. Information on the company’s 2014 sponsorship will be available starting in July. Pictured here is TIFF Bell Lightbox, which features Christie’s 4K projection technology.

Christie, a world leader in advanced cinema technologies and visual displays, is proud to once again be the official projection partner to the 2014 Toronto International Film Festival in September. A Festival sponsor for 14 consecutive years, Christie has played an integral role in ushering in the digital age at this renowned showcase for local and international talents. Today, with the help of this partnership, more than 99 percent of all Festival entries are screened digitally, with an increasing number in 4K, sharpening the shared experience between filmmaker and audience.

The Toronto International Film Festival is recognized as the largest public festival in the world and one of the most prestigious venues for emerging artists. It screens close to 400 films from 60+ countries, from blockbusters to small independents and documentaries at every level, with nearly half the films making their world premiere. Last year’s People’s Choice Award winner, 12 Years a Slave, the powerful British-American historical drama from director Steve McQueen, went on to receive nine Academy Award nominations, win “Best Motion Picture of the Year,” as well as a Best Supporting Actress award for its breakout star, Lupita Nyong’o. Other past favorites that premiered at the Festival and went on to international acclaim, including winning Oscars and Golden Globe awards, were Argo, Slum Dog Millionaire, and Silver Linings Playbook.

“Christie has been a true partner in every sense of the word. Its digital cinema projectors were among the first to be used at the Festival, helping us to demonstrate the exceptional power of this technology to reignite the excitement of the collective movie-going experience,” said Diane Cappelletto, TIFF’s director of technical production services. “The future is 4K and, as Digital Projection Partner, Christie continues to raise the bar of cinema excellence, increasing its 4K presence to more accurately present the filmmakers’ visions.”

A variety of Christie technologies will be used throughout the Festival venues, including the Christie Solaria Series 4K and 2K DLP Cinema projectors, the Christie HD10K-M projector with dual HD-SDI input module, and six Christie CineIPM 2K digital cinema image processors. Reflecting the Festival’s move to 4K-resolution screenings, Christie’s sponsorship features 4K projections at Roy Thomson Hall, Ryerson Theatre, The Elgin Theatre’s Visa Screening Room, and Princess of Wales Theatre. Christie’s 4K projection technology is also installed at TIFF Bell Lightbox.

“Digital cinema is all about creating pristine, high resolution images that help filmmakers get closer than ever before to their audiences,” said Kathryn Cress, vice president, global and corporate marketing, Christie. “Christie has been a leading advocate for 4K technology, and TIFF’s impact in this arena is indisputable, with a programming team that ensures the best and largest variety of films, talent and emerging stars make their mark here.”

“Christie is committed to strengthening its leadership role in digital technology on the world stage,” said John Hallman, Christie’s director of Canadian sales. “It is a great privilege to partner with TIFF and help the next generation of filmmakers, as well as many of its current masters, share their vision with an international audience.”

Christie’s visual technologies are part of many leading film festivals around the globe, including Cannes International Film Festival, May 14-25, and the Shanghai International Film Festival June 14-22.

Rud’s live painting was mapped to the wall of the Cathedral Library which borders onto the cloisters – the first time that this part of the stunning Romanesque architecture had been used as a canvas for a projected artwork. It was also the first time that the public had been able to walk on the cloisters grass.

Rud and Ashton collaborated with Durham Cathedral to produce the AniMotion work, which included nine pieces of original music some written for this performance and nine painted AniMotion sequences.

Rud’s projected canvas measured 16 meters wide and was created by Ashton’s tech savvy wizardry and encyclopedic knowledge in the art of projection. The giant images were beamed onto the wall by a single Panasonic PT-DZ21K machine, fed via a laptop from two cameras focused intently vertically downwards onto the light box on which Rud worked.

The fluid and organic paintings unfolded in real-time on the Cathedral Library wall in rhythmic harmony with the music. Rud also integrated the arched window of the Chapter House wall into some of her pictures along with an eclectic collage of other characters and scenes during the 75-minute show.

“Something different was promised, something life-affirming was delivered,” enthused David Whetstone in The Journal, one of a number of local media portals who gave the event positive reviews.

It is the third AniMotion collaboration between Rud and Ashton. The worldwide launch of the AniMotion Show took place in Cambridge in September 2013, and the next was at Edinburgh’s St Giles Cathedral in January.

Ashton comments, “The show adds a completely new and different dynamic to the music and was extremely well received by everyone who saw it. We have received lots and lots of positive feedback.”

They intend to expand the idea and show how it can work in numerous locations and environments both indoors and outdoors and with a wide range of different musical genres.

The cloisters at Durham were lit by a scheme designed by Ranald Neilson that complimented the projection and highlighted the fantastic architecture, which dates back to 1093.

The projector and AV gear was supplied by Warpro, the audio system came from Warehouse Sound and lighting equipment from Metro Ecosse, all based in Edinburgh.

The production was supported by the Arts Council of England and Durham City Councilors.

It was the fourth time that Ashton has produced digital art at Durham Cathedral – following his large format projection titled Crown of Light on the main exterior of the building for the Durham Lumière events of 2009, 2011 and 2013.

COLCHESTER, U.K. — Projection artist and digital art specialist Ross Ashton of London-based The Projection Studio created three new son et lumière shows for Colchester Castle, making use of a large-format projection on one of the Castle’s internal walls. The visuals were paired with soundtracks created by sound artist Karen Monid. The physical installation was completed by Sysco AV.

Ashton was approached to produce the show following his work at Caerphilly and Norwich Castles plus numerous other heritage projects where his video projections have brought building histories to vibrant life in colorful, accessible, informative and highly entertaining narratives.

The brief was to produce a WOW factor and something memorable that would whet visitors’ appetites to discover more about the Castle. “We were really thrilled to be asked to work on the project,” explains Ashton, and as soon as the research began, they discovered plenty of interesting facts and fascinating information that could be woven into the three video pieces.

“The challenge was picking a selection of historical moments that would best translate to large format projection and also encapsulate the scope and breadth of the Castle’s story in a short timeframe,” he says.

The three AV segments are each three minutes long: The first explores the early origins of the building and its life as the Temple of Roman Emperor Claudius and its destruction during the Revolt of Boudicca; the second details the site being re-developed as a Norman fortress; and the third is an overview of the Castle’s activities and uses from the medieval era to the present day.

All the content was produced by The Projection Studio, with a lot of the original materials sourced from the Castle Museum’s own extensive archive. The 3D animations were created by Sang Gun Kim and the 2D work was completed by Thierry Noyer under Ashton’s art direction.

As well as storyboarding, scripting and producing the three stories, Ashton designed the projection system, which has a Panasonic PT-DW17K at the center, fitted with a .6 short throw lens. The projector is attached to the ceiling via a bracket and projects an impressive image 15 meters wide by 10 meters tall.

The projector was chosen for its compact size and the fact that it uses four bulbs – so if one fails, the show can continue until it is repaired – and also for its quality and cost-effectiveness.

The physical installation was completed by Sysco AV.

Karen Monid created a bespoke sound piece to accompany each different story, working extremely closely with Ashton’s team and the Castle staff, matching many effects and sound elements to the visuals happening onscreen.

The harmonious combination of visuals and sound really give the pieces an added resonance and impact, making the whole experience super-immersive.

For the first story, Monid included a recording of a Latin prayer from the period being recited by a scholar in ancient languages, adding some subtle musical enhancements of her own and the sounds of Roman Colchester.

The second Norman story features a soundscape of medieval construction, accompanying the images of the frenetic castle building period, including a scene where the actual wall used for the projection is erected brick by brick. Much of the sound detail for this piece was inspired by the pictorial action being created.

For the third show, the technique changes slightly becoming more abstract. Following a timeline, it journeys through high energy stylistic soundscapes to take the Castle from medieval to modern periods via a series of key episodes – including its years as a prison. The audio adds atmosphere – with battles, incarcerations, etc., and uses spoken text, some of which is derived from local archive documents. All of it is underscored with modern rhythms as a thread of continuity joining the whole piece together.

The challenges included making the sounds authentic to the period to give viewers an instant snapshot of what was happening. The installed sound system is highly directional further emphasising certain audio effects that jump right out of the projected picture from the exact spot that the action is taking place.

The son et lumières opened in early May 2014 after the Castle had been closed for 15 months to allow a £4.2 million transformation to take place funded by various organizations and has already received an overwhelmingly positive reaction from the public.

Projection specialists Projection Artworks has worked with the Lift Agency to produce an electrifying video-mapping show for the launch of Mark Cavendish’s collaboration with cycling brand Specialised, following the launch of his Cavendish brand last summer.

Christie was selected by Digital Media Systems to provide the 3D projection for the world premiere ofX-Men: Days of Future Past. The event will feature two Christie Solaria Series digital cinema projectors lighting up a 26-foot by 62-foot screen with bright, vivid images and 4K resolution.

Christie has been selected by preferred partner Digital Media Systems (DMS) to provide the 3D digital cinema projection technology for the world premiere of 20th Century Fox’s filmX-Men: Days of Future Past on Saturday, May 10. DMS will transform the River Pavilion at the Jacob Javits Convention Center into a state-of-the-art, fully equipped theater to screen the highly anticipated X-Men sequel, with two Christie Solaria Series digital cinema projectors lighting up a 26-foot by 62-foot screen with bright, vivid images and 4K resolution. Directed by Bryan Singer, X-Men: Days of Future Past is the seventh motion picture in the X-Men series and boasts an impressive cast, including Hugh Jackman, Jennifer Lawrence, Halle Berry, and Matthew Vaughn. The world premiere will be a star-studded extravaganza with the red carpet and audience featuring some of the film’s stars, other A-list celebrities, and nearly 1,500 additional viewers. 20th Century Fox chose Digital Media Systems, its primary East Coast projection and sound team, to provide the technical support, integration, and installation for the film’s debut. A preferred Christie partner, Digital Media System’s long-standing relationship with Christie gave it complete confidence in installing Christie Solaria Series projectors to bring X-Men to life on the big screen with stunning 3D visuals. “The River Pavilion presents a challenging layout for the event, as all of the equipment, including seats, projection, drapes, and sound systems, needed to be brought in to create as close to a theater auditorium experience as possible. In selecting the projection system, we knew we could count on Christie’s powerful technology to come through for us,” said Gregg Paliotta, president and owner of Digital Media Systems. “With the projection booth over 140 feet away from the screen, Christie Solaria projectors will light up the screen flawlessly with sharp, vivid 3D images to capture every action-packed minute.”“We are pleased that Digital Media Systems trusted Christie to fully immerse the audience in the 3D world of the X-men,” said Kathryn Cress, vice president, global & corporate marketing, Christie. “Movie premieres are a great opportunity for Christie to showcase its superior digital cinema technology, and we are confident that our projectors will provide the reliability and flawless visual quality that is needed at such a high profile event.”In order to provide the high brightness, high resolution, and rich saturated colors needed for the premiere, Digital Media Systems will converge the light from two 4K Christie Solaria Series CP4230 projectors to produce seamless 3D images on the giant screen. This superior 4K projection solution features the Christie 4K+4 advantage, which includes maximum performance for 3D and Christie Pixel Track™ technology for optimum image quality.

ARTS provides a number of wedding production services, ranging from up-lighting and effects lighting to sound reinforcement for ceremonies and receptions, we provide various effects such as bubble machines and confetti cannons, we even offer a package where guests can take photos at your reception with digital cameras and the photos will be displayed in real-time in a slideshow on a projection screen.

Our special effects, event lighting, and projection services include:

Streamer & Confetti Cannons

Haze and Low-Lying Fog

Dance Lighting with Moving Lights

Up-Lighting on the Venue Walls

Projection of Monograms & Gobos

Video Projection on Venue Ceilings & Walls

Video Presentation Projection on Projection Screens

Making your wedding day a memorable one is of prime importance to us. We work with brides and grooms to provide creative solutions to make their wedding unique. Our team has a vast amount of experience in audio, lighting, and video production and can implement that experience in context of your special day.

ARTS provides Audio and Lighting for various events, including weddings. If you’re a DJ or you’re a bride or groom that wants a DJ who doesn’t have the appropriate gear for your event, we’d be excited to work with you. Weddings are soo much fun!

We have PA systems that can provide adequate audio for the largest of ballrooms or outdoor tents – whether you just want to play music off of an iPod or if you have a live band performing. We have lighting gear that can add entertainment value to your reception – from up lighting on the walls or tent, to intelligent and LED fixtures to add eye candy for your guest’s experience. ARTS is also able to provide projection if you have slide shows or videos you would like to present to your guests.

In addition to ARTS’ event production solutions, we can also recommend a subsidiary to our parent company, who would be able to provide artistic and affordable wedding videography services. We also have a network of photographers and DJ’s that we’ve worked with in the past on various wedding events and we could highly recommend them to you as well. So really, we are pretty much able to offer the package deal when it comes to event production for your event.

Gallery Players, the longest running community theatre in the Midwest, presents a season lineup highlighting the Jewish experience and work by Jewish playwrights. This season includes three weekends of performances of The Producers, the first three weekends of March.

ARTS provided video production services to Gallery Players for their production of The Producers. We created a rig to mount a Canon DSLR from about 20′ high in their stage house to be aimed at down at the stage. The camera recorded a dance sequence that we then brought back to our office and edited. We provided the final edit to the team at Gallery Players, which they incorporated into their video projection cues for the show. The video is projected onto the cyc at the back of the stage during a shtick during a scene in the show.

ARTS Production Services owner, Robert Vance, has been working this week at a local performing arts venue providing technical support for the 2012 Ohio Innovative Learning Environments Conference. This is the third year that Robert’s provided technical assistance for the event.

The conference features keynote speakers daily who require audiovisual support for their presentations. Robert’s been providing expert assistance with their presentations.

We do events. This most recent event was a retirement celebration. Lighting, sound, audiovisual, the entire package. You could call our company an event planning company, we really can support every aspect of an event.

This particular event required a variety of lighting needs. We had some general mood lighting, some accent lighting, and for one schtick during the event we even had some intelligent lighting setup for some special effects. Additionally, we provided sound reinforcement; podium speaking, vocal performance, etc. We also took care of the video projection needs.

Not only did we supply audiovisual services, we provided pre and post video production services. Prior to the event, we created video presentation pieces for the event. Additionally, the event was shot using five HD cameras, one of which was using a steady cam rig.

You may recall that we worked with the Hilliard Davidson High School Symphony Orchestra in November of 2007 on a project that was to benefit concert for the children of Uganda, which are suffering from a twenty year war that has ravaged their country.

Similar to the last benefit concert, we’re also planning on producing a short video that will accompany the orchestra during their closing number. The montage-like video will feature still photos from Uganda, video recorder in Uganda, and artistic live video shots of the orchestra as they perform.

The concert is free of cost, but donations will be accepted to benefit the children through the care of Invisible Children Inc.

The event usually consists of the awards ceremony portion, followed by live talent show style entertainment provided by the teachers from Memorial. Due to sticky contract negotiations between the school board and Hilliard teachers, the administration of Memorial Middle School was hesitant to ask teachers to spend unpaid extracurricular time for the project. Instead, the staff (during their conference breaks, before school, and after school) created a couple entertaining videos to be played for the students at the awards ceremony.

We provided minimal post production editing services (they already had the videos pretty much ready to go live), live video production services to professionally project the video on the movie screen and broadcast the video into overflow seating areas outside the auditorium, and live audio engineering.

On November 28, 2007, the Chamber Orchestra at Hilliard Davidson High School held a benefit concert for the children of Uganda, which are suffering from a twenty year war that has ravaged their country.